Born in the rural plains of Uttarakhand—a state in Northern India—and the daughter of a farmer father and homemaker mother, Preeti Verma’s upbringing could not be further from the glitz and glamour of the fashion world. She graduated with a degree in arts from the University of Northern India, and worked as an artistic director at a commercial creative agency. It wasn’t until years into her advertising career did the idea of working in fashion enter her peripheral. Recalls Verma of her decision to explore the buzzy yet turbulent industry: “After working in advertising for more than a decade, I wanted to pursue other opportunities in art and design. Fashion has been a budding area of interest for me for quite some time, and with a little confidence and the encouragement of friends I started Runaway Bicycle.”
Verma’s brainchild was officially launched in 2016. A sustainable brand that prides itself on incorporating traditional Indian weaving techniques, Runaway Bicycle’s garments exude effortless flair and style for daily wear. Oversized cotton dresses and knitted separates in concentrated shades of bumblebee, vermillion and indigo are paired with light and flowy silk accessories. Each garment is spun from scratch and painstakingly hand-weaved to become timeless staples that exhibit unparalleled craftsmanship.
Shares Verma of the brand’s ethos and design beliefs: “We want to make clothes designed to be handed down to the next generation, clothes that are not susceptible to trends. There is heavy emphasis on attention to detail, with every stitch and cut considered in their placement and serving a functional purpose.” Transitioning from advertising to design was a two-step process for Verma. Her prior training and experience in creating a voice proved helpful in finding Runaway Bicycle’s niche, and what followed was learning the technical aspects of textile and garment design. She remembers producing her debut collection in her home, a trial-and-error process of several unrefined designs that she used to test the market. The next two years were freewheeling and exciting, free of the pressures of a business that had bills and salaries to pay. “Only after the brand started taking off significantly did I quit my full-time job and rented my own studio space,” reminisces Verma.
“Every interaction we have with our buyers and technicians goes a long way in shaping the brand for the community.”
Fast forward seven years and the brand has come a long way. Its latest spring/summer 2024 collection—that showed at the renowned Premiere Classe fashion trade show in Paris late last year—tells the story of a hard day’s work through the eyes of local labour workers. The idea for it was conceptualised from a passing conversation with a man the design team met in the state of Goa, who charmed them with his personal anecdotes. Inspired by the small joys of life, the garments see a return of vibrant hues and another strong outing of flowy garments and unique textures. Cheerful embroidered motifs were present in several of the designs. “We begin every collection with the textiles, from selecting the yarns used in weaving to the colours they are dyed in. This collection was a huge learning moment for us in terms of the detailing and the range of colours used during the printing process,” shares Verma.
When asked about the heavy emphasis on traditional weaving techniques, Verma replies: “I have always had a love for textile design. I hope my clothes can capture the essence of the local artisans’ craft, and help provide them with the recognition they so deserve.” While she is happily engaged with designing for the brand and is thankful for the continued support from fans of the brand, Verma is well-aware that simply adopting traditional or eco-sensitive practices does not automatically make a brand sustainable. “The truth is no matter what we do, (making clothes takes its toll on the world) and the only way to truly be sustainable is to make less clothes. I hope that the longevity and timelessness of our products would help drive home our commitment to sustainability.”
“It is up to us as a brand to connect the dots and bridge the gap between delivering our key messages and conceptualising designs.”
Currently, Runaway Bicycle comprises a team of 35 members, spread across the design, production and marketing departments. While it is a more substantial crew compared to other small labels, Verma points out that it can be a double-edged sword. Attrition of talent and having to figure out ways to sustain its artisan partners has been an ongoing hurdle for the brand, along with constantly finding a balance between pushing the sustainable envelope while not overproducing to keep the business running.
Speaking on the theme of ‘Intentions’, Verma feels that it is important to distinguish between goals and actions. “They are seemingly related yet vastly different. In the context of what we actually do, we simply make clothes. But there will always be an intent to deliver our key messages of comfort and heritage through design, and it is up to us as a brand to connect the dots and bridge the gap between the two.”
As for the future of conscious fashion within India, Verma wishes to see more locals appreciate the value and beauty of traditional handloom practices. “Every conversation we have with our buyers and every interaction with our technicians does not go unnoticed; it all adds up and shows with every collection released.” That being said, she acknowledges that significant change takes time, and hopes that bringing in international influences would help inject freshness and youth to the Indian fashion scene. “Runaway Bicycle is in the process of taking our fabrics to bigger international markets while retaining a focus on researching ways to incorporate lesser-known techniques within the country.”
The Jan/Feb ‘Intentions’ issue of Vogue Singapore is available for sale online and in-stores now.
